Exploring the “secret garden”: Instructional communication in one-to-one instrumental lessons
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O presente artigo discute o estado da arte referente à comunicação de instruções no ensino individual do instrumento. Alguns autores descreveram a aula individual como um “jardim secreto”, em comparação com o escrutínio científico dado às aulas de música em grupo. A partir da investigação já feita sobre esta temática foi possível verificar que a comunicação de ideias relacionadas a um significado musical tem sido estabelecida como um dos seis papéis do professor de instrumento/canto. No entanto, a grande parte dos estudos reportam que o ensino instrumental tem seguido, na sua maioria, um modelo caracterizado pela comunicação unidirecional do professor para o aluno. Além disso, a literatura existente tem apontado que os professores de instrumento usam um vocabulário pedagógico específico para explicar e demonstrar uma competência. Algumas estratégias para comunicar este vocabulário de forma efetiva foram destacadas e discutidas neste artigo. Com base na literatura levantada foi possível verificar uma lacuna de estudos focados na comunicação de instruções em aulas individuais de instrumento. Alguns autores sugerem que, embora esta área de investigação esteja aumentando, a investigação no ensino instrumental não está acompanhando a demanda atual da prática
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Foletto, C. (2018). Exploring the “secret garden”: Instructional communication in one-to-one instrumental lessons. EduSer, 10(2), 50–72. https://doi.org/10.34620/eduser.v10i2.115
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Referências
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Duffy, S., & Healey, P. G. T. (2014). The conversational organization of musical contributions. Psychology of Music, 42(6), 888–893. http://doi.org/10.1177/0305735614545501
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Duke, R. A., & Henninger, J. C. (2002). Teachers’ Verbal Corrections and Observers’ Perceptions of Teaching and Learning. Journal of Research in Music Education, 50(1), 75–87.
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Foletto, C. (2011). A optimização da técnica violinística da mão esquerda através do sistema de padrões de dedos. In Proceedings and abstracts book Performa ’11 (pp. 1–11). Aveiro: University of Aveiro.
Foletto, C. (2013) Otimização do ensino aprendizagem instrumental: um estudo sobre a memorização de informações nas aulas de violino. Post-Ip: Revista Do Fórum Internacional de Estudos Em Música e Dança, Vol. 2(2), p. 54–62.
Foletto, C. (2016) Instructional communication in one-to-one instrumental lessons: the use of teaching cues in violin tuition (PhD Thesis). University of Aveiro, Aveiro.
Foletto, C, Carvalho, S, & Coimbra, D. (2013) Retrieval cues as a teaching tool in one-to-one instrumental lessons: A pilot study. In Procedings of the International symposium on performance science, Viena: AEC. p. 619–624.
Freire, P. (1970). Pedagogy of the oppressed. New York: Continuum.
Froehlich, H. C., & Cattley, G. (1991). Language, Metaphor, and Analogy in the Music Education Research Process. Journal of Aesthetic Education, 25(3), 243–257. http://doi.org/10.2307/3333005
Gabrielson, A., & Juslin, P. (1996). Emotional Expression in Music Performance: Between the Performer’s Intention and the Listener’s Experience. Psychology of Music, (24), 68–91.
Gaunt, H. (2008). One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal teachers. Psychology of Music, 36(2), 215–245. http://doi.org/10.1177/0305735607080827
Gaunt, H. (2011). Understanding the one-to-one relationship in instrumental/vocal tuition in Higher Education: comparing student and teacher perceptions. British Journal of Music Education, 28(02), 159–179. http://doi.org/10.1017/S0265051711000052
Gipson, R. . (1978). An Observational Analysis of Wind Instrument Private Lessons (Dissertation Abstracts International (AAT 7818757).
Gleitman, H., Gross, J., & Reisberg, D. (2010). Psychology. Norton.
Goolsby, T. W. (1996). Time Use in Instrumental Rehearsals: A Comparison of Experienced, Novice, and Student Teachers. Journal of Research in Music Education, 44(4), 286–303. http://doi.org/10.2307/3345442
Goolsby, T. W. (1997). Verbal Instruction in Instrumental Rehearsals: A Comparison of Three Career Levels and Preservice Teachers. Journal of Research in Music Education, 45(1), 21–40. http://doi.org/10.2307/3345463
Goolsby, T. W. (1999). A Comparison of Expert and Novice Music Teachers’ Preparing Identical Band Compositions: An Operational Replication. Journal of Research in Music Education, 47(2), 174–187. http://doi.org/10.2307/3345722
Hallam, S. (1998). Instrumental Teaching. Oxford: Heinemann.
Hallam, S. (2006). Music psychology in education. London: Badford Way Papers.
Hamond, L. (2013). Feedback on elements of piano performance: Two case studies in higher education studio (pp. 33–38). Presented at the International Symposium on Performance Science, Viena.
Hepler, L. (1986). The measuremnt of teacher-student interaction in private music lessons and its relationship to teacher field dependence/field independence (Unpublished doctoral dissertation). Case Western Reserve University, Cleveland, OH.
Highlen, P., & Hill, C. (1984). Factors Affecting Client Change in Individual Counseling: Current Status and Theoretical Speculations. In S. . Brown & R. . Lent (Eds.), Handbook of Counseling Psychology (pp. 334–96). New York: John Wiley & Sons.
Hultberg, C. (2005). Practitioners and researchers in cooperation—method development for qualitative practice-related studies. Music Education Research, 7(2), 211–224. http://doi.org/10.1080/14613800500169449
Jesson, J., Matheson, L., & Lacey, F. (2011). Doing your Literature Review: Traditional and Systematic Techniques. London: SAGE Publications.
Juslin, P. N. (2003). Five facets of musical expression: a psychologist’s perspective on music performance. Psychology of Music, 31(3), 273–302.
Karlsson, J., & Juslin, P. N. (2008). Musical expression: an observational study of instrumental teaching. Psychology of Music, 36(3), 309–334.
Kennell, R. (1992). Toward a theory of applied music instruction. The Quarterly Journal of Music Teaching and Learning, 3(2), 5–16.
Kennell, R. (2002). Systematic research in studio instruction in music. The New Handbook of Research on Music Teaching and Learning, 243–256.
Konukman, F., & Petrakis, E. (2001). Verbal and Visual Teaching Cues for Tennis. JOPERD-The Journal of Physical Education, Recreation & Dance, 72 (3), 38–43.
Krivenski, M. (2012). ‘Feeding back’ in musical performance Exploring feedback practice in relation to students’ and tutors’ learning and teaching experience (Summary Report). PALATINE.
Kurkul, W. W. (2007). Nonverbal communication in one-to-one music performance instruction. Psychology of Music, 35(2), 327–362. http://doi.org/10.1177/0305735607070385
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